RoseLee Goldberg

ACTIVE BACKLIST

ELMGREEN & DRAGSET: PERFORMANCES 1995-2011
WALTHER KöNIG, KöLN
ISBN: 9783863350994 | US $39.95
Pub Date: 6/30/2013
Active | Awaiting stock

PERFORMA 09: BACK TO FUTURISM
PERFORMA PUBLICATIONS
ISBN: 9780615450667 | US $39.95
Pub Date: 7/31/2011
Active | In stock

THE X INITIATIVE YEARBOOK
MOUSSE PUBLISHING
ISBN: 9788896501290 | US $25.00
Pub Date: 3/31/2011
Active | In stock

PERFORMA 07: EVERYWHERE AND ALL AT ONCE
JRP|RINGIER
ISBN: 9783037640340 | US $45.00
Pub Date: 1/31/2010
Active | Awaiting stock

EVA & FRANCO MATTES: 0100101110101101.ORG
CHARTA
ISBN: 9788881587261 | US $37.95
Pub Date: 10/31/2009
Active | In stock

FRANCESCO VEZZOLI: RIGHT YOU ARE (IF YOU THINK YOU ARE)
Text by Herbert Muschamp, RoseLee Goldberg, Francesco Vezzoli, Nancy Spector, Michael Schulman.
CHARTA/ GAGOSIAN GALLERY
ISBN: 9788881586660 | US $39.95
Pub Date: 3/4/2009
Active | Awaiting stock

PERFORMA
PERFORMA
ISBN: 9781424314980 | US $39.95
Pub Date: 6/1/2007
Active | In stock

BERNAR VENET PERFORMANCES, ETC. 1961-2006
Essays by Enrico Pedrini, Roselee Goldberg and Damien Sausset.
CHARTA
ISBN: 9788881585991 | US $75.00
Pub Date: 1/1/2007
Active | In stock

NIKKI S. LEE: PARTS
Essay by RoseLee Goldberg.
HATJE CANTZ PUBLISHERS
ISBN: 9783775716727 | US $35.00
Pub Date: 2/1/2006
Active | In stock

MARINA ABRAMOVIC: THE HOUSE WITH THE OCEAN VIEW
Essays by Chrissie Iles, Thomas McEvilley, Sean Kelly, C. Carr, Roselee Goldberg, and Peggy Phelan.
CHARTA
ISBN: 9788881584369 | US $45.00
Pub Date: 3/2/2004
Active | Awaiting stock

FRANCIS ALÿS: THE MODERN PROCESSION
PUBLIC ART FUND
ISBN: 9780960848829 | US $24.95
Pub Date: 7/2/2003
Active | Awaiting stock

SHIRIN NESHAT
Essays by Roselee Goldberg, Giorgio Verzotti.
CHARTA
ISBN: 9788881583607 | US $31.95
Pub Date: 3/2/2002
Active | In stock

RoseLee Goldberg

Elmgreen & Dragset: Performances 1995-2011

Edited by Performa 11. Introduction by RoseLee Goldberg. Text by Aaron Betsky, Ina Blom, Jens Hoffmann, Shannon Jackson, Andrea Kroksnes, Lars Bang Larsen.
Published by Walther König, Köln

Elmgreen & Dragset: Performances 1995-2011 showcases 43 performances and live works by Danish-Norwegian artist duo Elmgreen & Dragset, marking the first time the artists' practice is considered in depth from a performance perspective. Spanning nearly two decades, many of the works have never before appeared in a catalogue. The book includes image documentation and descriptions of each work along with full scripts--accessible here for the first time to a broader audience--for the plays "Drama Queens" (2007) and "Happy Days in the Art World" (2011), as well as new essays by curators, critics and art historians including Aaron Betsky, Jens Hoffmann and Shannon Jackson.

Performa 09: Back to Futurism

Edited by Roselee Goldberg, Lana Wilson. Introduction by RoseLee Goldberg. Foreword by Hal Foster. Text by RoseLee Goldberg, Defne Ayas, Mark Beasley, Lana Wilson, Tairone Bastien, Esa Nickle, Claire Bishop, Linda Yablonsky, Emily Braun.
Published by Performa Publications

Written and edited by legendary performance art historian RoseLee Goldberg, Performa 09: Back to Futurism is the definitive document of the unforgettable Performa 2009 biennial. It is the third volume to draw content and inspiration from the world-renowned Performa biennials, and features creative documentation by the 150 artists who made Performa 09 so extraordinary--among them Guy Ben-Ner, Candice Breitz, Omer Fast, Dominique Gonzalez-Foerster, Mike Kelley, Arto Lindsay, Wangechi Mutu, Christian Tomaszewski and Yeondoo Jung (all of whom presented special Performa Commissions) and Keren Cytter, Tacita Dean, Alicia Framis, Loris Greaud, William Kentridge and Joan Jonas (who brought US premieres to the biennial). Photographs of each artist's performance and texts contributed by curators and critics provide accounts of every show, as well as an understanding of the importance of each work within the artist's individual career and in relation to larger artistic trends. Taking place at over 80 of New York's most exciting art and cultural venues, Performa 09 was created as a collaboration between all of these moving parts, so a portrait of the city's remarkable history of cultural innovation also emerges from these pages. Performa 09: Back to Futurism is not only a gorgeous document of a remarkable biennial, but also an invaluable reference guide to the most significant artists of our time, for art historians and fans alike.

The X Initiative Yearbook

Foreword by Elizabeth Dee. Introduction by Cecilia Alemani. Text by Philip Aarons, Carlos Basualdo, Alexander Dumbadze, Hal Foster, Massimiliano Gioni, Roselee Goldberg, Ed Halter, Fritz Haeg, Laura Hoptman, Chrissie Iles, David Joselit, Sylvère Lotringer, et al.
Published by Mousse Publishing

X was a one-year, experimental non-profit initiative, whose goal was to inspire new ideas for producing and experiencing contemporary art. It ran the gamut from solo shows by international stars like Hans Haacke to a 24-hour Bring Your Own Art (BYOA) marathon event. This sourcebook surveys one dense year of art at 548 West 22nd Street.

Performa 07: Everywhere and All at Once

An Anthology of Writings

Edited by RoseLee Goldberg. Text by RoseLee Goldberg. Contributions by Catherine Wood, Jay Sanders, Anthony Huberman, Hans Ulrich Obrist.
Published by JRP|Ringier

Assembled by the pioneering scholar of performance art, RoseLee Goldberg, this volume documents new performances by some of the world's most exciting visual artists, focusing on the relationship between contemporary dance and visual art, the ongoing legacy of "Happenings" inventor Allan Kaprow and the recent explosion of performance in China. Photographs, artists' scripts, sketches, journals and storyboards are complemented by writings from prominent curators and critics, as well as interviews with Paul McCarthy, Dan Graham, Isaac Julien, Yvonne Rainer, Nathalie Djurberg, Jérôme Bel and others.

Eva & Franco Mattes: 0100101110101101.ORG

Nothing is Real

Text by Domenico Quaranta, Maurizio Cattelan, RoseLee Goldberg, Bruce Sterling, Wu Ming, Joline Blais, Jon Ippolito, Luther Blissett.
Published by Charta

Pioneers in the Net Art movement, Eva and Franco Mattes (aka 0100101110101101.ORG) have erected fake architectural heritage signs, run media campaigns for non-existent action movies and even convinced the entire population of Vienna that Nike had purchased the city's historic Karlsplatz and was about to rename it Nikeplatz. This is the first book on their work.

Francesco Vezzoli: Right You Are (If You Think You Are)

Text by Herbert Muschamp, RoseLee Goldberg, Francesco Vezzoli, Nancy Spector, Michael Schulman.
Published by Charta/ Gagosian Gallery

Throughout his career, Francesco Vezzoli has focused on people’s fascination with celebrity. At the Solomon R. Guggenheim Museum on October 27, 2007, he restaged Right You Are (If You Think You Are), the renowned play by Italian Nobel Laureate Luigi Pirandello that examines the fundamental ambiguity of truth. Vezzoli assembled an extraordinary cast of top-billed actors, implicating his audience in an investigation of rumor and celebrity mongering as substitutes for a deeper understanding of the individual. Pirandello, like Vezzoli in his own art, points to these empty distractions as a means of drawing attention to existential and humanist concerns. Vezzoli’s visionary approach to Pirandello’s jewel of a work playfully exposes the relativity of truth, the necessity of illusion, and the instability of the human persona. Co-produced by the Gagosian Gallery of New York, the staging is fully documented in this book in which you can literally be reflected as in a mirror, thanks to the inside of the cover.

Performa

By RoseLee Goldberg. Photos by Paula Court. Introduction by RoseLee Goldberg. Edited by Jennifer Liese. Text by RoseLee Goldberg, Defne Ayas, Lia Gangitano, Sofía Hernández Chong Cuy, Anthony Huberman, Lyra Kilston, Andrew Lampert, Christian Rattemeyer.
Published by Performa

RoseLee Goldberg amazed with PERFORMA 05, billed as the city's first biennial of 'visual art performance.' Working with a tiny staff, a shoestring budget and no institutional affiliation, Ms. Goldberg put together a program that covered a lot of aesthetic bases--old school, just out of school, high-tech, no-tech--and encompassed more than 60 scheduled events… all of which makes the prospect of PERFORMA 07 shine with promise. --Roberta Smith, the New York Times This volume is the first in a series of important publications drawing content and inspiration from the PERFORMA biennial. Featuring inventive documentation by the 100 artists who made the first PERFORMA so extraordinary, it offers an exhilarating view into contemporary visual art performance and "performs" as a collective artists' journal might. Vibrant photographs of each artist's performance are accompanied by their scripts, sketches and storyboards, providing unique insight into process and upending conventions around archiving performance. Lively interviews with some of the most significant artists of our time--including Francis Alÿs, Tamy Ben-Tor, Jesper Just, Marina Abramovic, Gelitin, Laurie Simmons and Mike Smith--appear alongside context-setting essays by some of our most inspired young curators. PERFORMA founder RoseLee Goldberg, who pioneered the study of performance art with her seminal book Performance Art from Futurism to the Present (1979), presents an authoritative introduction addressing the genre's many forms--radio broadcast, dance, live installation, new technologies, film and video, music, historic reconstructions and lecture-as-performance among them. PERFORMA is not only an invaluable reference, it is a new kind of guide to cultural life, a time capsule of this very moment in New York's eminent performance history, complete with profiles of the city's nonprofit biennial venues that, like this book, give ephemeral art a physical place in which to persist.

Bernar Venet Performances, etc. 1961-2006

Essays by Enrico Pedrini, Roselee Goldberg and Damien Sausset.
Published by Charta

If it is not surprising how many mediums Bernar Venet has worked in, from sculpture to painting to photography to sound to furniture, it is surprising how many he has used in performance. From the first moments of "Performance dans les detritus" in 1961 through sound compositions corresponding to and implicating his visual work, to a ballet for which he wrote the music, created the choreography and designed both the set and costumes, Venet has been omnivorous, recording mathematical poems on vinyl, the engines of the Concorde on CD and finally the sounds of the creation of his own sculpture. In 2004, Venet had three simultaneous solo shows in New York City, two at the Robert Miller and Jim Kempner galleries and a third along the Park Avenue Mall, where his large-scale Indeterminate Line pieces were installed. In 2005 he was named Chevalier de la Legion d'Honneur, France's highest decoration.

Nikki S. Lee: Parts

Essay by RoseLee Goldberg.
Published by Hatje Cantz Publishers

Korean-born, New York-based conceptual artist Nikki S. Lee once hoped to be an actress. Now she examines the construction and interpretation of identity in works that combine performance and photography. Her acclaimed Projects document her transformation (sometimes drastic) and assimilation into a wide range of subcultures and social and ethnic groups--from sophisticated ladies of the finest Parisian circles to white trash in American trailer parks, a hip-hop crowd, punks, lesbians, swingers and, appropriately, tourists. In Parts, she departs from those snapshots of cultural identity--for which she has since become internationally known--to explore the ways more intimate relationships affect who we are. As ever, Lee appears in each photograph, and each is shot by someone else. Now, however, rather than revising her persona to fit into an existing crowd, she changes over and over to match single characters, guys, who are then partially sliced out of the image, as if after a breakup. These halved images clearly and disturbingly point out the empty spots, the striking dependencies and the ways that we all--women particularly--define ourselves through our partners.

Marina Abramovic: The House With The Ocean View

Essays by Chrissie Iles, Thomas McEvilley, Sean Kelly, C. Carr, Roselee Goldberg, and Peggy Phelan.
Published by Charta

For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. She had no escape: the ladders leaning against bedroom, sitting room and bathroom had rungs made of large butcher knives. Throughout her 30-year career, Abramovic has used her body as her primary material, pushing it to extremes of altered consciousness, often putting herself in great physical peril. Her concern with creating works that ritualize the simple actions of everyday life like lying, sitting, dreaming and thinking focuses, in effect, on the manifestation of a unique mental state. In one early solo performances, the artist announced that she would be a passive object for six hours and laid out 72 items spectators could use on her, including a loaded gun. A fight broke out when someone tried to use it. Beginning in the late 70s, she and her then partner Ulay collaborated on now classic performances in which they crawled on their stomachs with a python that hadn't eaten in two weeks; collided with each other, naked, at top speed; sat motionless for seven hours at either end of a long table, trying not even to blink; and, most famously and difficultly, crossed the Great Wall of China, starting at opposite ends and walking until they met in the middle. Abramovic thought The House With the Ocean View would be most like walking this last piece, so she mounted the platforms at Sean Kelly Gallery clad in the old hiking boots she wore in China.
This volume presents documentation of The House With the Ocean View, Abramovic's most important performance work to date, alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, and others.
Published in conjunction with the Sean Kelly Gallery

Francis Alÿs: The Modern Procession

Artwork by Francis Als. Edited by Anne Wehr. Contributions by Tom Eccles, Susan Freedman. Text by Harper Montgomery, Francesco Pellizi, RoseLee Goldberg.
Published by Public Art Fund

On the morning of Sunday, June 23, 2002, 100 participants gathered at The Museum of Modern Art in midtown Manhattan, along with a 12-person Peruvian brass band, and a horse, dogs, and numerous palanquins, atop which sat replicas of three masterpieces from the museum's collection--Picasso's “Les Demoiselles d'Avignon,” Duchamp's ready-made “Bicycle Wheel” and a Giacometti--and a living representative of contemporary art, Kiki Smith. Three hours later they ended their procession at the museum's new temporary home, in Queens. Along the way, which ran from 11 West 53 Street, over the Queensboro Bridge, and up Queens Boulevard, the procession absorbed 100 additional participants, and enacted a very public spectacle--part saint's day procession and part secular celebration--of the museum's historic move to MoMA QNS.

Shirin Neshat

Essays by Roselee Goldberg, Giorgio Verzotti.
Published by Charta

In Shirin Neshat's photographs, Persian calligraphic script is transcribed over black and white depictions of the exposed faces, hands and feet of Iranian women. In her video works, swarms of women in black hijabs ululate, or a man in a white dress shirt and black pants sings to an all-male audience, while a lone woman sings to herself in a darkened theater. Always aesthetically compelling, Neshat's work is equally thematically ambiguous, never settling on a simple or singular meaning, never offering social commentary within prescribed limits. Though focused on the particulars of sex segregation and the suppression of women in contemporary Iran, Neshat underscores the relevance of her poetic, disturbing, moving ensembles to a broader culture. This monograph documents and provides critical insight into the evolution of her work.